Lección 11 de 12GuitarraIntermediate

Variaciones de turnaround

5:25

Ron Sayer muestra varias formas de tocar los dos últimos compases de un blues de 12 compases, usando acordes de 13.ª y otras voces para rematar el turnaround.

Parte del cursoThinking Out Of The Box 1: Opening The Lid12 lecciones (1h 8m)

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12 lecciones (1h 8m) · 1 gratis
    • 01. Formas de escalas pentatónicas y de blues: un repaso

      Lección gratis

      6:59

    • 02. ¡Una forma pentatónica diferente!

      5:10

    • 03. Añadir la 5ª bemol y la 6ª mayor a la escala pentatónica

      3:45

    • 04. Mezclar pentatónicas mayores y menores.

      4:41

    • 05. La escala de blues híbrida

      4:26

    • 06. Usar double stops

      6:35

    • 07. Double stops con notas de paso

      4:18

    • 08. Formas de tocar: acordes de séptima

      6:26

    • 09. Formas de tocar: Acordes de novena

      4:49

    • 10. Acordes chulos

      10:42

    • 11. Variaciones de turnaround

      Estás aquí

      5:25

    • 12. RIFF EXTRA: Aprende a tocar Pride & Joy de Stevie Ray Vaughan

      5:30

Transcripción de la lección

Exploring Turnaround Endings in 12-Bar Progressions

Hello! Hopefully, you've familiarized yourself with the 12 bars' worth of cool chords I showed you in the previous lesson. What I want to do, just to finish off this round, is look at ways you can play the last two bars of this turnaround. Essentially, it's nice to know varying ways of finishing off a 12-bar progression. So, we're going to have a look at that.

Recap of Initial Chords

Our initial 12-bar progression was using the following chords:

  • A7
  • C9
  • B minor 11
  • B flat 7 flat 5

Additional Turnaround Variations

We are going to explore four more ways of treating the last two bars.

Variation 1: 13th Chords

  1. A13 chord
  2. F sharp 13 chord
  3. B13 chord (a leap up)
  4. B flat 13 chord

This creates a nice and easy ending using all 13th chords, allowing you to move your hand down easily.

Next Option: Instead of going down to the F sharp 13 that we did last time, go up to the C13. This gives you another option for your turnaround. Mysterious, right?

Variation 2: Quick Changes

  1. A7
  2. F sharp 7
  3. F9 (with a C in the bass)
  4. Quick change from E7 sharp 9 flat 13 to B flat 13 chord.

Note: The only difference in this chord sequence is the root note. It starts on E, then shifts to B flat, with all the same notes involved.

You'll start with:

  • A7
  • F sharp 7
  • F9
  • Back to a 13

I'll do that one more time for you.

Variation 3: Chromatic Movement

This time, for our second variation, we'll:

  • Go down to the F sharp
  • Come back up chromatically to A

What we've done so far has always been quite slow.

Speed it Up!: You can obviously do this at a swing pace, playing through these variations a little faster.

Variation 4: Utilizing Bass Notes

You can also explore playing these variations at speed, which sounds quite good when you use the bass note.

Summary of Approach

The best way to approach these variations is to:

  • Learn the 12-bar progression with the chords.
  • Practice adding those different endings each time you play through it.

This will help you become comfortable with having some variations in your coda.

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Ron Sayer

Ron Sayer

Ron Sayer es un guitarrista de guitarristas del circuito de blues del Reino Unido y mentor de intérpretes como Oli Brown y Sol Philcox. Ha sido nominado cuatro veces en los British Blues Awards -por el álbum 'Better Side', el single 'Don't Make Me Stay' y su coautoría en 'Here I Am' de Oli Brown- y ha ganado el premio a Guitarrista del Año. En sus cursos desglosa el fraseo, el tono y el feeling que hay detrás del blues eléctrico como solista.

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